A close up is the ultimate special effect, the trope that asks our complicity in telling a story so that it matters.
It’s a terrific development in human history that so many people should have the means and mechanisms to create images and sounds and words, but the dilution of importance for the best of those creations threatens the value and continuity of the whole enterprise.
To be clear, multi-tasking in the great fallacy of the age. Nonetheless, people continue to talk themselves into believing that it works, that they can do it.
What if that seemingly irrelevant shot, blurry and showing no discernible subject, is the downstream neurological spark of some elegant surrealistic moment?
Musicians are making music because music needs to be made. Music between news stories may be interstitial elements for many people, but for those who play to keep the world turning, those music bumpers are the main reason for the show.
The reason something looks real is because a production team has gone to pains to present visuals and words and other narrative elements that suggest realism to the viewer.
When there’s no direct reliance on trust, powers of creative perception change. Obligation provokes sensitivity, and sensitivity inspires creative insight.
To develop creative work is to manipulate. The creative process has less to do with quantification than it does with intuition. To be creative is to feel something rather than calculate something, and feelings are always subject to change.
What could art possibly mean to a global population that spends most of its days eking out meager livings on the rough streets of Bangalore, Dar es Salaam, or Medellin? What does art possibly mean to the people who spend their days pouring over spreadsheets working to score points with the House Appropriations Committee?